Cathy's Art Diary

Excellent online introduction from the National Gallery to their Wright of Derby exhibition. Christine Riding led us through the main themes of the show starting with discussing the technique displayed in these works using light and dark to dramatic effect can called Tenebrism. She examined how the ideas came from Caravaggio but Wright used them in a secular context and, having not seen the work in the flash, but worked out how to do it from experimentation. She talked about the genre of works showing study by candlelight became popular and how it reflected that nighttime was seen as the time for learning feeding into ideas of refinement and dedication. This led her to examine the two main works in the show “The Orrey” and “Bird in an Air Pump” and the fashion for scientific learning. Finally she looked at how Wright’s style changed in the 1770s, still using the dramatic effects of light and dark, but focusing on working class labour such as blacksmiths and how this reflected id...

Fascinating online lecture from the National Gallery focusing on a new acquisition and putting it into context. Melissa Baksh, a freelance art historian, described the new 15th century acquisition “The Virgin and Child with Saints Louis and Margaret” which I am slightly obsessed by. She shared than dendrochronology has dated the panel to 1480 and it is Baltic oak which was frequently used in the Low Countries. It was first documented at a monastery in Ghent. The artists hasn’t been identified but she led us though some clues to its origin. She looked at the image in some detail explaining details in the St Margaret figure which come from the Golden Legend, how the order of St Michael wears is dated from before 1516 and how the architectural capitals are Old Testament scenes. She looked in particular at the dragon or monster which takes centre stage under the feet of St Margaret who has vanquished it. She put it into the context of Northern European art at the time from early bes...

Interesting online lecture from the National Gallery reflecting on their “Millet : Life on the Land” exhibition as it came to an end. Jacqui Ansell led us though various themes which had emerged from the show over its duration. She started by looking at “The Angelus” and talked about how it has become a French national icon and debating what a British equivalent might be deciding on “The Hay Wain”. She then outlined where the pictures in the exhibition had been lent from as all but “The Angelus” were from British collections. She used this as a way of looking at British collecting in the late 19th and early 20th century. Finally she discussed whether Millet was a political artist deciding that although he didn’t shy away from showing the hardships of rural life, she felt he was more driven by religious ideas and at one point he has said “the Bible is all I read”.

Calming installation in the chapel at Compton Verney by Yulia Mahr. I loved the effect of this show in the beautiful Capability Brown chapel but have no idea what it meant. The commentary said it “explores ideas that are beyond our grasp and becomes a meditation on anxiety as a defining characteristic of our time” so maybe I was not far off by not understanding it. The main piece was a black sphere surmounted by a crow and this was shown with two negative photographs of a figure crouching in an emotional stance. I did like the fact it reflected the numerous crows which visit the estate. Closed 2 November 2025

Fascinating small exhibition at Compton Verney focusing on an unusual 17th century painting of two women. The pictures shows a white woman and a woman of colour both wearing beauty patches in a colour contrasting with their skin. The work was shown with research material exploring the themes of the work. It discussed how it dates from the Commonwealth period and may be making a moral point about vanity. It also speculated that the artist may be Jerome Hesketh, who trained as a Catholic priest, as it was possibly painted for the Catholic Kenyon family. He toured Catholic houses performing secret masses and painting portraits as his cover. No end date given

Thoughtful exhibition at Compton Verney of new works by Renee So. The show investigated how the meaning of objects can be manipulated and distorted as they travel from buyer to seller. She took inspiration from the galleries collection of Chinese bronzes. My favourite section reproduced large versions of classic scent bottles exploring their exotic names and roots in the opium trade. Another took the image of the silkworm onto different objects in a variety of media to explore   the intertwined histories of Chinese women, symbols of power and luxury goods. I liked the recreation of So’s studio at the end of the show. Closes 8 March 2026